Agnes of God

John Pielmeier

47 pages 1-hour read

John Pielmeier

Agnes of God

Fiction | Play | Adult | Published in 1982

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Character Analysis

Content Warning: This section of the guide includes discussions of death, child death, mental illness, sexual violence, rape, physical abuse, emotional abuse, child abuse, child sexual abuse, gender discrimination, and substance use.

Agnes

Agnes is the title character of the play, though she plays a passive role in comparison to the two other characters. The play begins shortly after the death of Agnes’s child, with Dr. Livingston visiting Agnes to evaluate her. Dr. Livingstone wishes to learn the truth about what happened to the dead child, and to do so, she must learn the truth about Agnes. The play is therefore framed as the examination of a life so tragic that it could have caused a woman to murder her baby. As she tells Dr. Livingstone, she was frequently abused as a child. Her mother derided her appearance and imbued her with a traumatized self-image that Mother Miriam’s recollection of how Agnes wanted “to be eight pounds again” highlights (25). Her impossible desire to weigh what she did as a baby speaks to the nature of Agnes’s trauma; made to loathe herself (particularly her mature female body) by her abusive mother, she seeks to revert to an earlier, more “innocent” time. That Agnes cannot feasibly weigh eight pounds as an adult is evident to everyone except Agnes, showing how disconnected she has become from reality—a further consequence of the abuse that she suffered as a child.


For Agnes, religion is a refuge from trauma. She sincerely believes in God, but her manner of belief is more personal and subjective than the typical liturgical ideas of the Catholic Church. Agnes finds in God a replacement parental figure who can offer her, she hopes, emotional empathy. This is why she veers so violently between loving and hating God. She loves God for potentially soothing her, yet she hates God for failing to protect her. Her outburst to Dr. Livingstone, in which she fears that she will “burn in hell” because she hates God (71), is a response to Dr. Livingstone asking about Agnes being impregnated. Her identification of God as the figure who raped her carries the parental association to an extreme in the sense that it replays her mother’s sexual abuse and warnings about sexuality. 


Agnes’s arc is ultimately a tragic one defined by recurring institutional failure. Agnes admits to Dr. Livingstone that she killed her baby. Her ideas of sexuality and motherhood, so shaped by her own abusive mother, left Agnes with the sense that the child was a “mistake” on her part who could only be “saved” in death. Mother Miriam is sufficiently disillusioned by the revelation to turn Agnes over to the legal system, but the fact that she was ultimately hospitalized suggests that she was too traumatized to be considered liable for her crime. However, the medical system fails her as well. In the wake of her institutionalization, Agnes falls silent. She is cut off from the world and from her religion; she stops singing, and a silence falls across the stage for the first time. Her death, described by Dr. Livingstone, suggests that Agnes faded from the world. The profound impression she has made on the two other characters only slightly tempers the bleakness of her story by framing her as a martyr-like figure who dies to enlighten others.

Dr. Martha Livingstone

Though Agnes is the title character of the play, Dr. Livingstone is the protagonist. Her investigation into what happened to Agnes is an exploration of her own faith; the introspective nature of her character is shown through the monologues that she—and only she—delivers to the audience. In this respect, Dr. Livingstone’s role as a psychiatrist is an important part of her character. The play draws attention to this, referring to her simply as “doctor” rather than by her name. That she should pursue such a profession speaks to her innate desire to understand people, including, ultimately, herself. This manifests during the course of the play, as her assignment—to diagnose Agnes—consistently reveals truths about her own character and past. By the end of the play, she is diagnosing herself. The monologues back up this dynamic, with Dr. Livingstone sharing thoughts and recollections with the audience as one of her patients might share with her. Dr. Livingstone then examines and reflects on her memories, interpreting the ways in which they built her character and brought her to this point in life.


That Dr. Livingstone is a psychiatrist also positions her on the secular side of the debate surrounding Science and Religion as Competing Arbiters of Truth. As she explains in her conversations with Mother Miriam, Dr. Livingstone is a nonbeliever. To her, psychiatry and science are better means of understanding the world than religion or God. Indeed, Dr. Livingstone is actively antagonistic toward religion. She recalls the callous comments of a nun at the Catholic school she attended; the nun’s comment that a girl died because she did not pray enough has left Dr. Livingstone with a distaste for The Rationalization of Harm Through Faith and the broader way organized religion polices belief. Likewise, she struggles to believe in a God who would permit the death of her sister, Maria. In this, Agnes is Dr. Livingstone’s foil: While Agnes sought solace in belief, Dr. Livingstone sought solace in secular institutions such as the law and science. 


However, Dr. Livingstone is also a dynamic character. The events with Agnes change her, making her less certain of her worldview. She may not believe in the Christian God by the end of the play, but, as per her conversations with Mother Miriam, she wants to believe in the possibility of God. Her stand shifts from antagonism toward religion to a more agnostic view, as she has seen that the institutions of law and science can be just as fallible and inhumane as religion. In particular, Agnes’s tragic end leaves Dr. Livingstone with a need to believe in some sort of redemption, if only the possibility that Agnes may have changed her or affected her in some way. 


Another way in which Agnes changes Dr. Livingstone is shown in the latter’s attitudes toward motherhood. As a young woman, Dr. Livingstone chose not to have a baby because she did not want to become like her own mother. She could not see herself as a mother, and now, she says, she is too old to start a family. Her experiences with Agnes challenge her ideas about motherhood. Like Mother Miriam, Dr. Livingstone pities Agnes’s experiences with her abusive mother. She feels a maternal desire to protect Agnes, which leads her to rethink her views of motherhood. This change in view manifests physically in her body; in her closing monologue, she refers to “this doubting, menstruating, non-smoking psychiatrist” (75), though she previously stated that she had stopped menstruating. As with her religious beliefs, Dr. Livingstone does not completely change her mind. She does not necessarily want to be a mother, but she believes in the possibility of motherhood.

Mother Miriam Ruth

In Agnes of God, Mother Miriam Ruth is the face of organized religion. She is the head of the convent where Agnes lives and—since the male priests are not depicted in the play—represents the institutional authority of the Catholic Church. In this respect, she is more than just a nun; as the head of an order of nuns, she balances the traditionally patriarchal biases of the Catholic Church with a degree of female authority. 


Developing this point, Mother Miriam’s characterization challenges preconceptions about the Church and its representatives. In spite of her power and authority, she first appears easing the tension with a joke. She greets Dr. Livingstone by making a reference to Scottish explorer Dr. David Livingstone and then laughs at her own joke. Given the seriousness of the situation and Dr. Livingstone’s antagonistic attitude toward religion, the joke sets a tone for the dynamic between the two women and shows Mother Miriam’s emotional intelligence. Unlike the nuns at Dr. Livingstone’s Catholic school, Mother Miriam does not treat death with callous appeals to divine authority. She follows up her joke by discussing the strangeness of being referred to as “Mother” by people who are not nuns, acknowledging that it “forces a familiarity that most are not willing to accept” (8). Mother Miriam thus presents herself to Dr. Livingstone as a caring, understanding, and empathetic person, a far cry from the severity of the organized religion which Dr. Livingstone dislikes so intensely.


Mother Miriam’s empathetic nature also helps to explain why she does so much to guard Agnes from external scrutiny. She is fiercely protective of Agnes. Miriam wishes to protect the reputation of her organization, but her primary concern is for Agnes as an individual. She acts as a shield between Dr. Livingstone and Agnes, filtering out many of the most invasive and probing questions. In doing so, she hides many of the facts about their relationship. She does not mention the ruined sheets found in Agnes’s room, nor that she is Agnes’s aunt. While the play suggests that Mother Miriam withholds this information because she is afraid that the cruel, inhumane world will not treat Agnes with kindness and respect, it lends a degree of moral ambivalence to her character. 


As well as the potential murder charge, Mother Miriam is concerned with Agnes’s spiritual state and its implications. In her discussions with Dr. Livingstone, Mother Miriam hints at her belief that Agnes is particularly “blessed” and hints at the possibility that Agnes’s baby was conceived via miracle (rather than abuse or assault); she also mentions the signs of the stigmata that Agnes has shown in the past. If these were more widely known, Mother Miriam believes, then Agnes may become the focus of an intense media scrutiny. This shows that her loyalty is, first and foremost, to Agnes. Her empathy is such that she is willing to hide a miracle from the world because she fears that the world would have a negative effect on Agnes. Mother Miriam’s desire to protect Agnes is thus a stronger motivation than her institutional loyalty to the state, the church, or the convent.


Unlike Dr. Livingstone, Mother Miriam notes, she knows what it means to be a mother, having been married before taking her vows. Much of Miriam’s desire to protect Agnes springs from maternal instinct, implicitly heightened by guilt over failure to intervene in Agnes’s abuse and grief over her own children’s rejection of her following her conversion. Since she was not able to protect Agnes, however, Mother Miriam feels that she has failed in her duty yet again. Her desire to protect Agnes and to shield her springs from this sense of failure, yet her inability to deny the truth results in yet another failure. Her last scene in the play involves her bitterly lamenting that Dr. Livingstone has stripped away her illusions of Agnes’s innocence. Where Dr. Livingstone’s arc sees her move tentatively toward belief, Mother Miriam’s takes her in the opposite direction. Her disappointment with Agnes, in whom she has invested so much, shakes her faith.

blurred text
blurred text
blurred text

Unlock analysis of every major character

Get a detailed breakdown of each character’s role, motivations, and development.

  • Explore in-depth profiles for every important character
  • Trace character arcs, turning points, and relationships
  • Connect characters to key themes and plot points